NAKED BYRD TWO 9 O Virtus Sapientiae Hildegard of Bingen [2.16] Kirsteen Rogers, Soprano

NAKED BYRD TWO 9 O Virtus Sapientiae Hildegard of Bingen [2.16] Kirsteen Rogers, soprano 0 Versa Est (Requiem) Tomás Luis de Victoria [4.56] 1 Salve Regina Hermann Contractus [3.23] Anna Sandström, soprano q Strengthen ye the weak hands* David Buckley [2.18] Rachel Robinson, soprano 2 The Spirit of Tallis* Thomas Tallis, arr. Christopher Monks [3.07] Peter Morton, tenor Anna Sandström, soprano Kelly McCusker, violin w Agnus Dei from 4 part mass William Byrd [4.05] 3 Agnus Dei (from Adagio for Strings) Samuel Barber [7.36] e The Lamb John Tavener [4.01] 4 Funeral Ikos John Tavener [8.07] * World Première recordings 5 Hear my Prayer, O Lord Henry Purcell [2.37] Total timings: [52.40] 6 Spiritus Sanctus Vivificans Hildegard of Bingen [2.50] Anna Sandström, soprano 7 Never Seek to Tell Thy Love* Jonathan Roberts [3.50] ARMONICO CONSORT CHRISTOPHER MONKS ARTISTIC DIRECTOR 8 Crucifixus Antonio Lotti [3.29] www.signumrecords.com NAKED BYRD TWO over the centuries by the church but is most of his String Quartet, Op. 11 in 1936, Barber Commonwealth and Protectorate. Much of the commonly found at the end of Compline, the next scored the work for full string orchestra a music that he wrote was linked into the reigning Following on from their first volume of works last service of the day and of the sequence of little while later. This second version of the work monarch and royal family, and it is thought that were, in Christopher Monks’s words ‘united hours, as well as at the various feasts of Mary. went on to become perhaps one of the best that Hear my Prayer, O Lord is the first part of by the tendency of their composers to wear their known pieces of American classical music. The a longer work that was intended for the state hearts on their sleeves’, the Armonico Consort A contemporary take on a now infamous theme text that Barber chose to set, and which is funeral of King Charles II. Following rumours of here present a second compilation of music by the Tudor recusant composer Thomas Tallis conveniently appropriate for the music, is that the king’s death-bed conversion to Catholicism stimulated by overpowering feelings and potent (c. 1505-1585) follows. The original theme, a of the Agnus Dei, part of the ordinary of the the state funeral never took place and the piece sentiments that have the power to move and hymn by Tallis, the text of which employs the Mass, which seeks forgiveness from sin through was never to be completed by Purcell. What inspire the listener. In covering a vast expanse first two verses of Psalm Two, was first seen the ‘Lamb of God’. remains, however, is an astonishingly powerful of time, the power of music as a tool for intense included in Archbishop Parker’s Psalter of 1567. setting of the first verse of Psalm 102 in which expression is shown to have reached far into The theme was brought to particular prominence In the first of two works in this programme by a considerable climax grows from the germ of history with some of the music on this recording by Ralph Vaughan Williams who not only included John Tavener (b. 1944), Funeral Ikos, the influence just a single voice. composed as early as the eleventh century. it in the twentieth-century English Hymnal, of of the Orthodox Church on his music, and a which he was one of the editors, but used it as seemingly profound religious belief, become Of the multifarious activities of Hildegard of And it is in the eleventh century that the the basis for his own Fantasia on a Theme particularly evident in setting this text primarily Bingen (1098-1179) – which included life as a programme begins, with the haunting Marian by Thomas Tallis, composed in 1910 and first used for the funerals of priests. Written in 1981, Benedictine abbess, founding two monasteries, antiphon Salve Regina. The exact provenance of performed in Gloucester Cathedral the same the simplicity of the music is conspicuous and as well as being a poet and a writer on a wide this hymn to the Blessed Virgin Mary, one of year. In The Spirit of Tallis, Christopher Monks potent with much of the work in unison and with range of subjects – composition of music to be the most enduring plainsong settings, is not uses the original text found in the 1567 Psalter, much repetition of the material through different sung during the liturgy was a vital feature for known for certain, although contemporary ‘Why fum’th in fight the Gentiles spite, in fury combinations of voice parts. Each ‘Alleluia’ section which she is mostly remembered. Her music, opinion most frequently attributes it to Hermann raging stout?’, while the poignant Phrygian provides a ray of optimism looking in anticipation of which there are two works on this recording Contractus (1013-1054), a renowned scholar, melody of Tallis’s hymn is complemented with an as to what the next world may bring. (Spiritus Sanctus Vivificans and O Virtus mathematician, writer and Benedictine monk, improvisatory and expressive violin line. Sapientiae), largely stretched the boundaries known to have written a number of hymns later As a composer working in the Restoration, it of the chant of the time, often going beyond in his life. Of those hymns that are attributed It took some thirty years for Samuel Barber is difficult to overestimate the contribution the common range that had become usual. It to him other than Salve Regina, perhaps the (1910-1981) eventually to score his Adagio that Henry Purcell (1659-1695) made to the is of a lyrical nature, more often than not being best known is Alma Redemptoris Mater. The for Strings for eight-part choir following its revivification of music, both inside and outside particularly appropriate for the nature of each hymn itself has been used in numerous ways composition. Originally written as a movement of the church, following the period of the text. She combined all of her music into a - 4 - - 5 - collection entitled Symphonia armoniae celestium at the Basilica of St Mark’s. He is mostly known The British-born composer David Buckley The Agnus Dei presented here is from the Mass revelationum, the exact date of which is not for this short Crucifixus scored for eight voices, (b. 1976) is perhaps best known as a composer for four voices, which is thought to have been known. Spiritus Sanctus Vivificans is a dedicatory which originally formed part of a setting of the of film scores, writing for major film the first of these three settings of the Mass hymn to the Holy Spirit, while O Virtus Sapientiae Credo, the Nicene Creed used in Christian liturgy, productions and releases. Trained at the that Byrd penned. is a hymn to the Holy Wisdom and the Trinity of which Lotti composed between 1717 and 1719. University of Cambridge, Buckley has also written Father, Son and Holy Spirit. Both of these works successfully for television, his output being Closing the recording is perhaps one of the most are performed here with a typical organum drone. Tomás Luis de Victoria (c. 1548-1611) is largely influenced by a remarkably diverse range of significant and well-known shorter pieces of choral regarded as the pre-eminent Spanish composer musical styles. In Strengthen ye the weak hands, music composed in Britain in the latter half of Following on from Hope finds a way, included in of the Renaissance period. While his output was a setting of a text from Isaiah Chapter 35, he the twentieth century. Composed in 1982, The the first volume of Naked Byrd, Jonathan Roberts’s written entirely for the church, Victoria was not demonstrates his compositional versatility Lamb, with a text by William Blake, was written (b. 1983) Never Seek to Tell Thy Love, brings the most prolific composer of his generation, with in a piece that is full of hope in the coming of for the third birthday of John Tavener’s nephew, the programme into the present day. For many of his contemporaries writing a great deal the Saviour. Simon, and has become one of his most renowned some years now Roberts has taken part in the more music. Born and raised in Avila, Victoria works. The simplicity of the music mirrors that educational arm of the Armonico Consort, assisting studied in Rome (and possibly with Palestrina, Similarly to Tallis, William Byrd (c. 1540-1623) was of the text and Tavener himself has written that in their regular workshops. His own music has although there is no conclusive proof of this), a recusant composer, forced to keep his Roman ‘It was composed from seven notes in an been nurtured through the Consort, and Never returning to Spain after a period of work and his Catholic faith a secret. In post-Reformation afternoon. Blake’s child-like vision perhaps Seek to Tell Thy Love is the second of his ordination to the priesthood. Victoria’s music England when the Latin Catholic liturgy was explains The Lamb’s great popularity in a world compositions that they have recorded. Scored shows him to be a master of polyphony, and in banned, services that followed the Roman Rite that is starved of this precious and sacred for full choir, the text is by William Blake and particular influenced by the Italian style took place in secret, and a number of composers dimension in almost every aspect of life.’ was first published in 1863. exemplified by Palestrina.Versa Est is a six-part wrote music that would have been performed motet taken from Victoria’s setting of the during such events.

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